If you think about what is going on with WAS (wall of sound), overlaying many tracks, just like using multiple microphones on a symphony is effectively compressing the result. The loudness only increases by the square root of the number of sources, while the quiet parts get less frequent and less quiet.
Close micing also created the need for de-essing since HF didn't attenuate as much as they do in nature with spaced or distant micing.
Of course de-essing was also needed for broadcast to prevent overload from HF pre-emphasis in broadcast chain.
JR
Close micing also created the need for de-essing since HF didn't attenuate as much as they do in nature with spaced or distant micing.
Of course de-essing was also needed for broadcast to prevent overload from HF pre-emphasis in broadcast chain.
JR